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Studia Musica – 2 – 2018 MUSICA 2/2018 STUDIA UNIVERSITATIS BABEŞ-BOLYAI MUSICA 2/2018 DECEMBER REFEREES: Acad. Dr. István ALMÁSI, Folk Music Scientific Researcher, Cluj-Napoca, Romania, Member of the Hungarian Academy of Arts – Budapest, Hungary Univ. Prof. Dr. István ANGI, Former: “Gh. Dima” Music Academy, Cluj-Napoca, Romania Univ. Prof. Dr. Gabriel BANCIU, “Gh. Dima” Music Academy, Cluj-Napoca, Romania Univ. Prof. Dr. Habil. Stela DRĂGULIN, Transylvania University of Braşov, Romania Univ. Prof. Dr. Habil. Noémi MACZELKA DLA, Pianist, Former Head of the Arts Institute and the Department of Music Education, University of Szeged, “Juhász Gyula” F2aculty of Education, Hungary College Prof. Dr. Péter ORDASI, Former: University of Debrecen, Faculty of Music, Hungary Univ. Prof. Dr. Pavel PUŞCAŞ, “Gh. Dima” Music Academy, Cluj-Napoca, Romania Univ. Prof. Dr. Valentina SANDU-DEDIU, National University of Music, Bucharest, Romania Univ. Prof. Dr. Ilona SZENIK, Former: “Gh. Dima” Music Academy, Cluj-Napoca, Romania Acad. Univ. Prof. Dr. Eduard TERÉNYI, Composer. Former: “Gh. Dima” Music Academy, Cluj-Napoca, Romania, Member of the Hungarian Academy of Arts – Budapest, Hungary Acad. College Associate Prof. Dr. Péter TÓTH, DLA, University of Szeged, Dean of the Faculty of Musical Arts, Hungary, Member of the Hungarian Academy of Arts – Budapest, Hungary EDITOR-IN-CHIEF: Associate Prof. Dr. Gabriela COCA, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania PERMANENT EDITORIAL BOARD: Associate Prof. Dr. Éva PÉTER, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania Lecturer Prof. Dr. Miklós FEKETE, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania Lecturer Prof. Dr. Noémi MIKLÓS, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania Lecturer Prof. Dr. Emese SÓFALVI, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania ENGLISH TRANSLATIONS COORDINATOR: Maria COZMA (London, United Kingdom) Studia UBB Musica is sponsored by the Faculty of Reformed Theology, Reformed Theology and Musical Pedagogy Department, Babeş-Bolyai University, Cluj-Napoca, Romania Dean: Associate Prof. Dr. Olga LUKÁCS Front cover: DADDI, Bernardo, Four Musical Angels c. 1345, Tempera on wood, 44 x 53 cm Christ Church Picture Gallery, Oxford Sursa: https://www.wga.hu/index1.html Beginning with 1/2017, Studia UBB Musica has been selected for coverage in Clarivate Analytics products and services. Studia UBB Musica will be indexed and abstracted in Emerging Sources Citation Index. YEAR (LXIII) 2018 MONTH DECEMBER ISSUE 2 PUBLISHED ONLINE: 2018-12-17 PUBLISHED PRINT: 2018-12-17 ISSUE DOI:10.24193/subbmusica.2018.2 S T U D I A UNIVERSITATIS BABEŞ-BOLYAI MUSICA 2 STUDIA UBB EDITORIAL OFFICE: B.P. Hasdeu no. 51, 400371 Cluj-Napoca, Romania, Phone + 40 264 405352, [email protected] SUMAR – SOMMAIRE – CONTENTS – INHALT COMPUTER MUSIC ADRIAN BORZA, Interactive Sound Tools and Engines ................................... 9 MUSICAL MANAGEMENT OANA BĂLAN, The Management of Communication and Commercial Practice in the Viennese Classical Era ............................................................................. 21 MUSIC CRITICISM CRISTINA ȘUTEU, Der Musikkritiker zwischen Rolle und Verantwortlichkeiten (The Music Critic between Role and Responsibilities) .................................... 29 MUSICAL PSYCHOLOGY STELA DRĂGULIN, The Unifying Power of Music in Marsilio Ficino’s Visio ........ 37 MUSICAL MEDICINE TAMÁS J. ALTORJAY – ÁDÁM PERÉNYI – GÁBOR ÁDÁM, The Effect of Pregnancy on the Singing Voice ..................................................................... 47 MUSICAL THERAPY MIKLÓS GYÖRGYJAKAB, Music belongs to all of us! Even to the deaf! (?) .. 57 JÁNOS ZSOLT IMRE, Chamber Music Explorations for Meditation ............... 67 LOIS VĂDUVA – ANNAMARIA BALLA, The Impact of Music Therapy Sessions on Children Diagnosed with Progressive Chronic Illness – a Pilot Program ........ 85 MUSIC HISTORY EVA-ELENA JORDAN, The Soprano Voice Type and its Importance within the Operetta Genre ..................................................................................................... 103 EVA-ELENA JORDAN, Operetta as a Genre from its Beginnings to its Famous Hungarian Representatives ........................................................................... 115 NOÉMI KARÁCSONY, Characteristics of the 19th Century French Opera reflected in the Works of Saint-Saëns and Bizet ........................................... 133 MUSICAL STYLISTICS STELIAN IONAȘCU, Intersections of Arts. Structural and Language Analogies ... 143 RYTIS URNIEŽIUS, The Development and Periods of Edvard Grieg’s Orchestral Style ............................................................................................. 165 MUSIC PEDAGOGY MIRELA MERCEAN-ȚÂRC, The Anonymous Educator ...................................... 187 ALEXANDRA BELIBOU, Integrating Computerized Musical Education into an Interdisciplinary Paradigm; Proposal of Applications using Sibelius Software ..... 205 ETHNOMUSICOLOGY HENRIETTA CIOBA, Ethnographic and Folk Music Traditions of Jobbágytelke (Sâmbriaş), III. Part ....................................................................................... 211 FOLK MUSIC ZOLTÁN GERGELY, Small Ambitus – New Style Christmas Carols from the Transylvanian Plain ....................................................................................... 267 MUSIC ANALYSES PETRUȚA-MARIA COROIU, The Theme of the Prodigal Son's Return in Classical Music II: Sergei Prokofiev .............................................................. 279 ÉVA PÉTER, Folk Song Adaptations for Men’s Choir by János Serpődi ............ 285 ECATERINA BANCIU, History of a Forgotten Passacaglia: The Symphony No. 3 “Ovid” Finale by Sigismund Toduță ............................................................... 297 BIANCA ȚIPLEA-TEMEȘ, Haunting Soundscapes of Transylvania: Ligeti’s Research Stay at the Folklore Institute in Bucharest ..................................... 311 BOOK REVIEWS Considerations about a Fundamental Book of Romanian Musicology (OLEG GARAZ) ............................................................................................ 327 “The Music in the Silent Sound”: George Balint, Privirea estetică: încercare în contemplarea muzicii (The Aesthetic Gaze: Attempt at Contemplating Music), Bucharest: Editura Muzicală, 2018, 177 p., ISBN 978-973-42-1029-9 (CRISTINA ȘUTEU) .......................................................................................... 335 CONCERT CHRONICLES The Valkyrie by Richard Wagner, in Concert. Gabriel Bebeșelea and the „Transilvania” State Philharmonic Orchestra Dress Rehearsal with Audience and the Closing Concert of the “Cluj Musical Autumn” International Festival (October 25-26, 2018) (ECATERINA BANCIU) ............................................. 341 CONTRIBUTORS ................................................................................................. 347 SUBSCRIPTION ................................................................................................... 355 AGREEMENT OF CHANGE BETWEEN THE INSTITUTIONS ......................... 357 INVITATION FOR PUBLISHING ......................................................................... 359 STUDIA UBB MUSICA, LXIII, 2, 2018 (p. 9 – 20) (RECOMMENDED CITATION) DOI:10.24193/subbmusica.2018.2.01 INTERACTIVE SOUND TOOLS AND ENGINES ADRIAN BORZA1 SUMMARY. The compositional algorithms are recognized as solutions to music problems which appear in computer programming. They are small to large-sized patches designed for analyzing, for example, the direction, size, and the magnitude of change of a melodic interval; analyzing the rest between two MIDI events; analyzing the register, duration, delta time and dynamics of MIDI events; analyzing the number of notes of a chord; storing, limiting and sorting pitch or intensity values; processing MIDI events; making chord progressions; compositing a canon; tracking a musical MIDI score. Keywords: Computer Music, compositional algoritm Introduction The practical goal of this paper is to help increase creative thinking since a musician will focus on compositional algorithms and programming practices applied in Computer Music. Therefore, we introduce several Max patches as solutions to problems which often appear in programming. These patches, named sound tools and engines, are classified according to keywords and functional categories. For example, the class Register refers to two programs called range and range.sel. The patch range identifies the pitch numbers of a MIDI event within a range of notes and the patch range.sel signals the pitch value within a defined register. They have in common particular keywords: pitch, range, and register. The second objective is to assist musician to understand the concepts, terms, and practices associated with Max, and to acquaint him with a software development methodology in general, with the intent of better planning and managing his effort. However, it is assumed that the reader has accumulated knowledge of basic concepts of music theory and a rudimentary understanding of computer and software. 1 He is an Associate Professor at the Gheorghe Dima Music Academy, Str. Ion I.C. Brătianu, nr. 25, Cluj-Napoca 400079, Romania. Email: [email protected] 9 ADRIAN BORZA Conventions The names of the Max objects are displayed in colored
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